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WHY NOT TAKE A DAYDREAM AND WEAR IT

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WHY NOT TAKE A DAYDREAM AND WEAR IT


Published June 1, 2007


This set of pieces began as an attempt to get my music into a New York gallery for an exhibit of new abstract art. Although unsuccessful as a submission, I was delighted with the beginning results and decided to pursue the concept further. I had wanted for some time to do a guitar-oriented CD since working on my contribution to the 2003 compilation, "TENSILE," which I co-produced, and released in 2003.

I recorded a short guitar improvisation into my laptop. The file was chopped into brief fragments. Selected fragments were looped and processed. Smaller portions of each fragment were manipulated for pitch and volume with irregular periodicity so changes would occur at differing points with each repetition. Variations of each loop were set up to follow one another randomly. Some of the tracks have accompanying percussion parts. The percussion parts were treated to a number of randomizing filters which added variety while retaining the essential determined elements. The tracks have a somewhat static quality, yet few moments are an exact repetition of any other.

While creating this collection, I was looking for something beautiful within the limited material I had chosen to work with, something that would have perforations of silence, something in the mid-range frequency, and mostly quiet. I wanted the guitar to be prominent, as a solo instrument, but sometimes appearing in duos or trios.

The titles of the pieces were taken from the subject lines of spam email. Spam has become an unrelenting source of randomly generated, abstract "poetry," and there are several amusing Web sites now devoted to this emerging "genre." The title of the CD is a quote from a particularly inspiring article written by fashion editor, Sally Singer, in the March 2007 issue of Vogue.

"The more I listen to it, the more it interests me." - WHITE_LINE.


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thebeigechannel
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